Also during the first third of the twentieth century some improvements arose; decks that are almost out of order; that is, decks with no apparent logical order but with a few cards at certain positions that are used for a gambling demonstration or spelling tricks. In 1927, the Englishman Louis Nikola published his stack, with three tricks built into it: a spelling trick, a poker or nap demonstration and the dealing of all the hearts to fall to the magician for a winning hand in bridge or whist.
Nikola also popularized two ideas: first, a method for memorizing the stack with an old but little-used system, based on a relationship between letters and numbers (see Roterberg in the bibliography at the end of this work); and second, a fantastic way to set up the whole deck unsuspected in front of the audience, during a magnificent and dramatic trick.'
• This work is reduced to a minimum using the system described later in this volume.
t As to its possible origin, my good friend Bill Kalush, from New York, told me of a deck without «in apparent order (at least I don't see any and the author doesn't mention one) for the forty<ard deck we know as "Spanish" (a deck commonly used in Spain,
Italy, Portugal and Latin America) and some tricks with it. To perform these tricks you must know (perhaps by heart) the order of the cards. The amazing thing is that the
Itahan booklet that describes this deck and tricks with it is dated 1638. The title is Nova ghtrhmia de bellhimigiochidicarleedi mano, and its author is Benedetto Siuiero da Cento 'II Carbonaro".
1t See Encydopalu, of Card Trich (1937), edited by Hueard, p. 402; and Galasso's Cioclu
IT ^ T" "I0'"'' di ",a"on"' who described the concept in 1593. A shuffled 1S hand*d out and »he spectators shuffle it further. The magician then asks for the ras, one at a t,me. in a seemingly random order, without repeating any, in a simu-
iinS^,rm0r>- is lhe ^ <™d ^me time the secret of the
N.oalff' WHkh le3V« the - a known order in the magician out t d^ 1 lhl' 'dw 0f the last three cards of the stack, then dealt end the CZ r r rk0,S by sui,s <*hich further speeds the search). At the extraordinan,' id \ * U ^ ^ m the hands of the spectators for a dramatic effect- a>
- —, r two p., sss:sssr^rri was used by many of the great American magici th? • 8Uck
In 1942, Oscar Hugo, another An^n!^ about his Magi Card System with „J^T^Z M
• I hT'cVanOUS PerS(,nal mnem°nic d«>* were pubhtl including those by Steve A.drich, Rufos Steele and William i t
English, Curó and Bernat in Spanish, and Claude Ri* in French
A wonderful step forward was taken by the Chicago attorney and excel-lentmagician s.mort Aronson, who published his brilliant Stack to Reme»*,, in 1979. This magnificent stack contains seven effects: a draw-poker deal a stud-poker deal, a Ten-card Poker Deal, a bridge deal, a spelling trick for six cards and Rusduck and Zen's "Any Hand Called For".
Also in 1979,1 published two stacks. The best one contained "The Vernon Poker Demonstration"/ other deals for poker and rummy, the above mentioned "Any Hand Called For" and several spelling tricks in Spanish.
There have been other ideas (to the best of my knowledge unpublished), by Piet Porton and Luis Garcia, for setting up a stack through the performance of several tricks and some shuffles; and I've been told of another system created by Christian Chelman.
Ed Mario also created a stack that could be arrived at from new-deck order, through overhand-shuffle runs combined with faro shuffles. The idea is very provocative, as you can begin at any time with a new deck (see p. 31 of Mario's Faro Notes, 1958).
In addition, several tricks appeared using Rusduck's magnificent idea: The stay-stack setup.
Combining Mario's and Rusduck's ideas with several others is how 1 arrived at my own mnemonic stack, which I'm about to introduce and which has become so popular in Europe that it is being called by some the Tamariz Memorized Deck.'
• Curiously, the year this book was published is the same year yours truly was bom. Despite that fact, it was a very good year for magic, as it s the same year Paul Curry s wonderful "Out of This World" saw the light.
t From New Phoenix, No. 311, July 9, 1954. p. 44; and No. 314, Aug. 20.1954. p. 62; also the Dai Vernon Book of Magic Í1957), p. 222.
t Some thought-provoking ideas by Luis Garda Soulullo. «.ncernmg h,s tnck"R,.eof Initiation", inspired me to publish a series of ob*-rvat.ons. ^ ' ^ in The Circular of the Escuela Mágica de Madrid, which gradually led me o^eco^and development of .his stack. A. .he .¡me (Luis and I used to "Ork.^rUj^ oped a different stack, which started from Aa-.o-Kmg order and was - ^ ^ H five out-faros. Luis la.er abandoned .hi, in favor of another stack, or ^ s .uks. ,ha. relied on entirely different principies. See "Garcia Soutullo ,n the b.bliography.
10 / JUAN Tamariz
Thc Mnemoruca stack combines all the above advantages with many ones Among them are the possibility of converting the stack to stay-'^er' (which opens the door to many tricks), of starting with a brand j vk ' manv spelling tricks, poker and rummy demonstrations, as S as ones for blackjack and bridge, a production of all the cards of any 11 manv specific mental tricks, and stories told by the cards. There are neailv thirty specific effects for this stack, without counting those using the stay-stack arrangement. On top of that, there is a blockbuster closing effect in which the whole deck ends up arranged by suit and value, from Ace to King, that provides an absolutely marvelous climax to any magic performance.
• The stay-stack was discovered by the American magician Rusduck, who published it in 1957. It consists of a mirror order in which cards on the top and bottom of the deck are the same color and value (mates), as are the cards second from the top and bottom, third from the top and bottom, and so on, all thc way to the two central cards at positions twenty-six and twenty-seven. This stack makes many effects possible. Paul Swinford, Ed Mario and Alfonso Moline, among others, have found brilliant applications for it.
t Four out-faros and a partial faro are required. Don't be discouraged if you can't do a faro shuffle, as I'll also explain an easy method without faros.
1. THe Order oe Mnemónica
The sequence in Fig. 1 does no» appear to have any discernable logical order, no matter how much you look, study or analyze it.
14 / juan tamar1z
Was this article helpful?
Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.